Impersonal Camus

Albert Camus(1913-1960), a French writer born in Drean Algery, has been very prolific writer and his characteristic is impersonal narration of events and, in fact he tells that happen but through very little references to protagonist, he describes nature, land and very much condition, but never personal, never to his protagonist, also title of his stories is impersonal, we are going to know very little or nothing  of these men and women, he has describes through reference the bodily and expressions, he is very synthetic on contrary about nature and lands he describes through major particulars, although synthetic, tree and other, regard a chosen of a tomb so he describes it: “In the cemetery of hers city has expired a license, on this land proprietaries has erected a tomb very sumptuous, of black marble a very much well…”, he has terminated this argument through very concise description, and after nothing. Other digressions during telling are present and it are very useless to tell: “The courage is to keep eyes to light and on death…”, these are very deviations very frequent and I think that these are useless, because nothing to tell. It is more evident than other during read of The wedding where author is more impersonal and now he uses alone imagines and references very negligible, a history isn’t, personages aren’t and everything is kept on a tell very boring.

Alessandro Lusana     

 

Momentary truth

Every time has a truth, during Renaissance this is 16th century, the true religion was alone Catholic religion but, after, for political motives is Protestantism, although in German land, and with very much difficult; and after Anglicanism in Great Britain, motives has been political, we must consider that Cicero has said “Religio instrumentum regni”, this is the religion is necessary to govern. Every man thinks that has the truth, and we human consider that the truth is traceable in books, through think or tribunal, we have our truth. We must consider condemnation of Giordano Bruno, an heretical man, that has been burnt because heretical, and this is truth and tribunal has made condemnation because he didn’t abjured his theories, today it is depreciable, because every man has right believes to everything, but then it was impossible because one was the truth, this is Catholic truth and never other; in Great Britain the Jesuits were condemned and killed because Catholic. Every examples that we can tell are alone momentary, because we can consider that now it is true and tomorrow, this is then years, it will be absolutely distant from this way think, therefore it is always true but at other moral context, when if it is true or no, it is very important little, because other truth is emerging, a truth that is very distant and further the precedent true, because it is lie to other contest, and that was true then now is laughable, therefore every time has its truth to believe that is truth, because further it will be alone a truth right to that time and context, but after it will be nothing or object to studies, in conformity to that morality and time; every time has its truth, and this will be very momentary.

Alessandro Lusana    

           

 

         

 

Continuos Renaissance

I know perfectly that Renaissance is about art history from 15^th century to second half of 16^th century, and after the style of three principal arts has changed; but I want remark that the Renaissance, that is when man found herself is a very easy interpretation, this is trivial, because we can speak about the social class that has become important, differently from Middle age men were set to classes and Renaissance set men through method but now man is considered to his possibility and capacities, now this spirit of age is evident, now is manifest, and we can understand this opinion from threats that are written by artists. These social class is very humble and poor, Giotto and Arnolfo di Cambio and Nicola Pisano, painter and sculptors didn’t write a threat during Middle age, because certainly economic support wasn’t sufficient for this experience, but Cennino Cennini, Florentine painter at 14^th and 15^th wrote about 1390 and 1437 his threat about painting art. This is possible because painting has took importance, because economic support was very relevant because markets were very rich, and much families wanted their chapels, then painters were important, and now painter is relevant; but it is alone start this is the painter is important from glamour of families, but his social class is inferior and very modest; but during 16^th century, through Lives of Giorgio Vasari, we can understand how much artist has become important; in fact during a dinner in residence of cardinal Alessandro Farnese(1520-1589), Paolo Giovio(1483-1552) an Italian monsignor proposed idea for the Lives because, written Vasari: “While we speak about a thing and other, as we make thinking monsignor Giovio said that he wanted set among his Elogia, this is Virorum bellica virtute illustrium and Virorum literis illustrium… a threat that has told about artist men for drawing art from Cimabue until to our day…”. It is  very important step, because it is manifest interest to a social class become very important, because next to men of arms and men of literature, now artist are considered regardless of class, but alone for their capacities in art, and this is possible both because art is important and man is important, we must consider that no every men are now important because they are artist, but this desire of Paolo Giovio is indicative for a spirit and opinion that now rewards other qualities. If we consider that opinion we can think that who not were considered because member of social class very low, as artists, now is important; Raphael Sanzio(1483-1520) was buried in Pantheon and Michelangelo(1475-1564) now buried in Santa Croce, but he was buried in roman church of Saint Apostles in Rome, his body was kidnapped by Florentine team and it was brought to Florence to prestige of his importance would give to city, but Michelangelo was a people man, but his qualities were admired everywhere, then his importance was very important for glamour of city, but he was always an artist; then we can remark that individual qualities, as Roman empire, were important. A digression after hint to Roman empire; in ancient Rome neither race, origin or class, but everybody can become important because he has qualities, and during Roman empire this is important no certainly class. Now we consider personal qualities and no certainly class, but Renaissance is ended, certainly but humankind is present.

Alessandro Lusana   

 

Platonic Calvinism

I think that we must consider that ancient philosophy, above all Greek philosophy, is very decisive to modern theological think, and this sentence is alone limited some step, but we must consider that origin of this interpretation is very Platonic. It is enough that we consider a step of a book of Jean Calvin and we can look that this step is directly from Plato(428/427-348/347 b.Ch.); from Institutions of Christian religion we can read: “…it is evident that the man could not know himself if he don’t raise to God, and after he will go downing after to see himself”; this step is very important to heathen origin, and specify from Plato, because we must consider that Plato tells about soul of men that has had knowledge of word to Word of Ideas, where soul has a speculative vision of knowledge and after this soul will goes down to body; then God is Christian translation of Platonic Word of Ideas, then we must see always to God to know our self. Calvin continuing with other reference likewise Platonic, in fact he sais: “The man is habited to see black and darkness thing, and when he find new objects and turns his eyes other where he thinks that these are white and clear, but after he consider that these objects are mixed to blackness and darkness”; other think of Plato, because when man has seen reality and he remember that is Word of Ideas he find defects and impurities, typical  of earthy word, because it is ideal vision of a divine word that is purely health. Then Plato has inspired indirectly Calvin, because it is evident also to other step: “Knowledge of God is act inherent to human soul”, then: “…God has given a knowledge about him and he revives memory through sparks that are present sometime…” this is memory of Plato of Word of Ideas, when man remembers something and he has took it from ideal word.

Alessandro Lusana 

 

                                                 

   
 

 

Magnificence and secularism of architecture: Borromini and Guarini

Two architects that has remarked the form and no certainly the principal function of build, in fact Francesco Borromini(1599-1667) and Camillo Guarino Guarini(1624-1683) are two architects that has used and abused the geometry, they have built alone to the architecture, expressed forms that were secular because every costumer was an through to expression and built of form, that has nature and method very different from Renaissance; it isn’t rational and aseptic but life and irregular, uses the geometry and it gives life to other forms, architecture is necessary to forms that can express, every object of architecture can become other. The drawings of Guarini are a clear examples of these play of geometry(Figs.1-2) Drawings of architecture civil and ecclesiastical, is a collection and it has gathered drawings and one is very adherent to particular that I have now expressed, use of geometry that can modify same form; a tympanum can become right (Fig.1) or strange(Fig.2), because a column can be very right(Fig.1) or become very irregular(Fig.2), naturally this second form is from Bernini(Figs.3-6). An use very irregular of geometry is took from Guarini by Borromini and saint Ivo to Sapienza(Figs.7-13a), where Borromini used geometry with a freedom very marked; he conceives the freedom of forms and used same geometry of renaissance with other method; same think of Guarini(Figs.14-17). Two architects that have used forms and drama of forms with same spirit and have used architecture to forms, then different forms, then Guarini said: “The symmetries of architecture can between them be different forms".

Alessandro Lusana     

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The late Mattia Pascal and fame of history: fakes and fame that become historical reality

This assay is a complaint about a use and abuse that we have usually believed and this phenomenological custom is connatural to humankind, and it had used and described, with irony from Luigi Pirandello at his The late Mattia Pascal; protagonist of this romance is Mattia Pascal a guy that is disappeared from a city and everybody think that he is died, and he said to end of this romance: “It is very beautiful bring flowers on my tomb”; this is romance is a masterwork, because it tells truly custom that alone very few follow; this is the historical fakes and common morality, this last is principal motive to follow and they followed these historical fakes. Mattia, protagonist is life and when he is exiting from cemetery somebody asks to him: “Are Mattia Pascal?” and he answered: “The late Mattia Pascal”, because I am died in conformity of common opinion, then I am life it is very low indifferent, because important is alone common judgement, then is more common opinion is valid no, certainly, other. This phenomenon, that has showed the idiocy and opportunism of very much fake historical men, has tells fakes and untrue historical truth. Everybody has believed to these fakes more to disinterest than other. After these fake historical men other has caught these fakes and have followed it, because to begin a examination of these presumed truth is very difficult and tiring, it is more best follow the fakes than search the truth. Everybody follow this criterion is unworthy to write the history or philosophy or other. Then when you must read history you must always consider that these presumed truth is alone opinion of historical man then it isn’t you must consider that it is opinion, no certainly the truth; as common opinion has said that Mattia Pascal has died. And I want end this assay through a sentence of Pirandello: “Keep in your mind that during your life you will meet very much mask and few face”, this is you will meet very much fake men and very few sincere persons.

Alessandro Lusana  

 

Tempora currunt sed modus restat: identity of one costumer

Architecture and his costumer is always very much characteristic of one architect, and style is evident to many works, we can identify Borromini, Bernini, Michael Angel and other. We should consider that it is very rare identify a costumer through style of a built; it is very anomalous to identity of art history, because one costumer we can identify to documents or literature, this is ancient guide and other; but identify a costumer without documents and alone to style is complex; but in Sermoneta it is possible because the style is same for many centuries: we must consider that first caetanea church this is Saint Joseph(Figs.1-2) with lozenges on sides and tympanum on center, we can consider that it is style of 16^th century, this is 1525, when this church was erected from Caetani family; and opinion and judgement about style is very right because this rational stile is connate to century, but to use, after centuries, same style is very anomalous; in fact other two churches of family of Caetani were erected during 1685 or restored during  of 18^th century, these are Saint Annunciata(Figs.7-10) and Saint Mary of Fossato on year 1685(Figs.3-6). We can see same style of Saint Joseph, same lozenges and same tympanum, that isn’t to Saint Mary of Fossato, but it is on high side of façade, and intern is same unique ship(Figs.2,5-6), as Saint Joseph and Saint Annunciata. This is very meaningfull because through this style we can identify costumer and repetition of these style of costumer. It isn’t determined from preference of costumer, because style has changed, Borromini and Baroque and other styles have rose and architecture used and mixed it to façade; then it is an reference to Caetani, this style is Caetani style.  

Alessandro Lusana  

    

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